Harp-like polyphone polychord musical instrument



HARP LIKE PQLYPHONE POLYGHORD MUSICAL INSTRUMENT Filed Nov. 21, 1935 2 Sheets-Sheet l Fig. 1 Fig. 2

May 25, 1937. E. T. TSAMOURTZI I HARP LIKE POLYPHONE POLYCHORD MUSICAL INSTRUMENT Filed Nov. 21, 1935 2 Sheet s-Sheet 2 Patented May 25, 1937 UNITED STATE ATE OFFICE HARP-LIKE POLYIPHQNE POLYCHORD MUSICAL ENSTRUMENT Evangelos Themistokleous Tsamourtzi, Athens, Greece 12 Claims.

This invention relates to a new finger-operated harp-like polyphone polychord musical instrument. It is provided with strings having a permissible range of from say 2% to as high as 8 octaves, these strings being stretched along the vertical surfaces of two upright wings, forming between them a V-shaped section with a dihedral angle ranging from 0 up to as much as 90 degrees. Preferably, strings corresponding to a certain range are duplicated, so that a performance can be rendered simulating the simultaneous play of two instruments. According to my invention I also provide a sounding-box of special construction, along with three damping pedals, to provide for a rich, durable, and nice tone. The special construction and disposition of the sounding box, as well as of the pedals, is more particularly described below.

The strings of the new musical instrument, preferably of good quality, are strung in accordance with a chromatic and tempered scale, whereby chromatic glissandos can be executed there with.

Furthermore, the duplication of strings in a certain portion of the entire range of the instrument permits, within this said portion, of per formances corresponding to what previously could be obtained only with the use of two instruments.

With the three pedals referred to above, one of which constitutes a special tune holder pedal, the vibration of one or more strings can be maintained at will, so that it is possible to form simultaneously a plurality of chords, of over ten tones.

Compared with the harp, the new instrument distinguishes sharply and presents many advantages. For example, with the strings of the harp being preliminarily tuned in diatonic scale to say, C flat, then the player, in order to render a selection employing a diiferent key, or requiring a change of key during the performance thereof, must first change the key of the harp by manipulation of the pedals, thereof to change the effective length of the strings. For this reason the performance on the harp of selections involving frequent changes of key are impossible. Further, the harp has no dampers serving to stop the vibrations of the strings, as a result of which great confusion of harmonies and tunes often occurs. In my new instrument, on the contrary, a far richer tone is produced. Dampers are provided, so that no confusion in tones need be prod'uced, the stringing of the instrument in chromatic and tempered scales, ensuring that any musical piece or chromatic glissando can be readily performed thereon.

One constructional embodiment of my inven tion is disclosed in the accompanying drawings, solely by way of example.

In the drawings:

Fig. 1 is a rear elevation of my new instrument;

Fig. 2 is a side elevation, taken from the left of Fig. 1;

Fig. 3 is a top plan view;

Fig. 3a is a view similar to Fig. 3, with certain details omitted for simplicity; and

Fig. 4 is a side elevation, taken from the right of Fig. 1.

As is evident from the drawings, my new musical instrument comprises two wings (I) of strong wooden skeleton disposed in the manner of a V, with a horizontal dihedral angle therebetween ranging from 0 to 90, on which two metal frames (2) are mounted. In the present case this inclination is shown to be about 25 degrees. The instrument from which the drawings were made is 1.64 meters long and 0.88 meter wide. The metal frames preferably are easily detachable, so that in case of damage, the instrument can be readily repaired. The whole instrument stands on a wooden base (3) on which three pedals (4, 5, 6) are arranged in a manner to be described hereinafter.

Each metal frame (2) on its lower part bears small hooks (D (Fig. 4) one end of each string (6) being fastened to the corresponding one of these hooks. Keys (9) similar to the tuning keys of a piano are fastened in special holes on the upper parts of the frames. These keys are to hold the other end of the strings, and it is possible to change the tension and hence the tuning of the strings by suitably turning the keys.

The strings are carried over a bridge (l0), through which latter the tunes are transmitted to a sounding box where they are amplified. The bridge on the left instruments side, which is of special shape, does not rest throughout its transverse width on the sounding box, but is mounted along a strip, as may be seen in Fig. 4, which strip in turn is mounted on the sounding box, so that better transmission of the tune results therefrom.

The sounding box (II) (shown in Fig. 3a as being of v-section) is placed in the angle of opening between the two wings (I), arranged in V formation. In the present embodiment the sounding box has a conical cross-section, and its outer walls fit in the angle formed by the two wings. While the sounding box can be constructed as a single chamber, it preferably is formed as in Fig. 3a, with two hollow sounding chambers separated by a diaphragm. In one of the walls enclosing the hollow space of this chamber or chambers, preferably in the back wall, away from the player, a sound opening (40) is provided. In the case of a sounding box having two chambers there are two such openings, one opening for each chamber. In the drawings the back wall of the sounding box (ll) (upper side of Fig. 3) constitutes the legs of the V, i. c. it forms a wedge-like reentrant dihedral angle having a truncated vertex. If only one sound chamber is provided, then the sound opening is provided on one of the two surface-planes of the reentrant wedge, while in the case of two sound chambers, there is a sound opening on each of the surface planes which define the reentrant wedge. This arrangement has the advantage that the sound waves emitted through the opening or openings, again fall on a wedge-like or funnelshaped space, and are there strengthened and diffused into space. The separating wall of diaphragm which divides the resonance or sound box into two chambers is preferably disposed along the longitudinal center-line of the V, 1'. e. which passes through the imaginary intersection line of the two outer surface-planes of the dihedral angle confining the resonance box, or through the imaginary vertex of the reentrant wedge and the middle line of that wall of the resonance box which is before the player.

The strings (l2) are tuned on a chromatic, tempered scale. The range of notes covered by the strings on the two wings will be best appreciated if explained using the keyboard of the modern piano for purposes of illustration. The strings on the left wing, in terms of the piano keyboard, where C is the tonic, range from the second C below middle C to the third G above middle C, encompassing 56 notes. Another 56 notes are taken in by the strings on the right wing which range from the first C below middle C to the fifth G above middle C. It will be appreciated that the range from the first C below middle C to the third G above middle C is covered by both sets of strings. Therefore when playing selections confined to that last-mentioned range, the harpist is enabled to play chords, giving the effect of a duet with two harps. The above outlined system of tuning is merely for purposes of illustration, and it is quite possible to construct the instrument with a smaller or greater number of strings as desired, covering, say, the range from 2% to 8 octaves.

My new polychord instrument has three foot pedals (4, 5, 6) provided on the wooden base (3), the pedal (5) of which I intend for the right wing (Fig. 2) and the pedals (4, 5) for the left wing (Fig. 4). The movement of the pedals is transmitted to the upper wooden frame upon which the said dampers are mounted by means of levers (I2) biased in their uppermost position by springs ("5). Pedal (6) can lift dampers (I5) on the right wing, while dampers l3 and I4 on the left wing can be lifted by pedal (4). The third pedal (5) is constructed to lift only that part of the dampers of the left wing corresponding to the strings of the lower notes in range of about two octaves. This third pedal (5) (called the tune holder pedal) is intended for the maintenance of the tone of certain bass-strings during the time that the player continues to play on other strings, the maintenance of the tone of which is not required, This third pedal (5) is of great aid, not only to the player, but also to the composer of modern music. Owing to the independence of each pedal, it is possible to move the pedals either singly or together; in the latter case, all the dampers for the strings of both wings can be lifted simultaneously.

To distinguish the strings, small pointers, marks, or similar other signs can be provided at the inner side of each wing on the cover of the sounding box; two or three pointers placed in suecession serve to indicate immediately the strings relating to the sharps and flats of the various tones. These pointers may be arranged in the same manner as those of a piano.

Once the broad aspects of my invention are disclosed, numerous modifications and adaptations will readily occur to those skilled in the art. Accordingly, I intend to be limited only by the scope of the appended claims.

I claim:

1. A harp-like musical instrument, comprising two substantially vertical wings of resonating material, the said wings being disposed in the man ner of a V with the dihedral angle therebetween ranging from 0 to open metal frames secured to each wing on the outer face thereof, tunable strings disposed on the said frames according to a chromatic diatonic scale, and a V-shaped hollow sounding box disposed snugly in the V of the said wings, with the apex of the V of said sounding box extending towards the apex of the wings.

2. A harp-like musical instrument, comprising two substantially vertical wings of resonating material, the said wings being disposed in the manner of a V with an approximately 25 dihedral angle, open metal frames secured to each wing on the outer face thereof, turnable strings disposed on the said frames according to a chromatic diatonic scale, and a V-shaped hollow sounding box disposed snugly in the V of the said wings, with the apex of the V of said sounding box extending towards the apex of the wings.

3. A harp-like musical instrument, comprising two substantially vertical wings of wood, the said wings being disposed in the manner of a V with the dihedral angle therebetween ranging from 0 to 90, open metal frames secured to each wing on the outer face thereof, tunable strings disposed on the said frames according to a chromatic diatonic scale, and a V-shaped hollow sounding box disposed snugly in the V of the said wings, with the apex of the V of said sounding box extending towards the apex of the wings.

4. A harp-like musical instrument, comprising two substantially vertical wings of resonating material, the said wings being disposed in the manner of a V with the dihedral angle therebetween ranging from 0 to 90, open metal frames secured to each wing on the outer face thereof, tunable strings disposed on the said frames according to a chromatic diatonic scale, a V-shaped hollow sounding box disposed snugly in the V of the said wings, with the apex of the V of said sounding box extending towards the apex of the wings. and a base of resonating material on which the wings and frames are mounted.

5. A harp-like musical instrument, eomprising two substantially vertical wings of resonating material, the said wings being disposed in the manner of a V with the dihedral angle therebetween ranging from 0 to 90, open metal frames secured to each wing on the outer face thereof,

tunable strings disposed on the said frames, according to a chromatic diatonic scale, a V-shaped hollow sounding box disposed snugly in the V of the said wings, with the apex of the V of said sounding box towards the apex of the wings, and a base of wood material on which the wings and frames are mounted.

6. A harp-like musical instrument, comprising two substantially vertical wings of resonating ma terial, the said wings being disposed in the manner of a V with the dihedral angle therebetween ranging from to 90, open metal frames secured to each wing on the outer face thereof, tunable strings disposed on the said frames according to a chromatic diatonic scale, and a V- shaped hollow sounding box disposed snugly in the V of the said wings, with the apex of the v of the sounding box extending towards the apex of the wings, the said sounding box having sound opening therein, disposed in the valley formed by the legs of the V of the sounding box.

'7. A harp-like musical instrument, comprising two substantially vertical wings of resonating material, the said wings beig disposed in the manner of a V with the dihedral angle therebetween ranging from 0 to 90, open metal frames secured to each wing on the outer face thereof, tunable strings disposed on the said frames according to a chromatic diatonic scale, a V-shaped hollow sounding box disposed snugly in the V of the said wings, with the tail of the V of the sounding box extending towards the apex of the wings, and a diaphragm extending vertically along the longitudinal axis of the apex of the V of the sounding box and dividing the sounding box into two chambers.

8. A harp-like musical instrument, comprising two substantially vertical wings of resonating material, the said wings being disposed in the manner of a V with the dihedral angle therebetween ranging from 0 to 90, open metal frames secured to each wing on the outer face thereof, tunable strings disposed on the said frames according to a chromatic diatonic scale, a V- shaped hollow sounding box disposed snugly in the V of the said wings, with the apex of the V of the sounding box extending towards the apex of the wings, and a diaphragm extending vertically along the longitudinal axis of the apex of the V of the sounding box and dividing the sounding box intotwo chambers, the sounding box having a sound opening in each chamber, opening into the valley formed between the legs of the V of the sounding box.

9. A harp-like musical instrument, comprising two substantially vertical wings of resonating material, the said wings being disposed in the manner of a V with the dihedral angle therebctween ranging from 0 to 90, open metal frames secured to each wing on the outer face thereof, tunable strings disposed on the said frames according to a chromatic diaton'ic scale, a V- shaped hollow sounding box disposed snugly in the V of the said wings, with the apex of the V of the sounding apex extending towards the apex of the wings, a thin strip on the exterior of each sounding box, and a bridge mounted on said strip and over which the strings are tensioned.

10. A harp-like musical instrument, comprising two substantially vertical wings of resonating material, the said wings being disposed in the manner of a V with the dihedral angle therebetween ranging from 0 to 90, open metal frames secured to each wing on the outer face thereof, tunable strings disposed on the said frames according to a chromatic diatonic scale, a V-shaped hollow sounding box disposed snugly in the V of the said wings, with the apex of the V of the sounding box extending towards the apex of the wings, dampers mounted on said frames, and overlying the strings to damp the vibrations thereof, and foot pedals for actuating the dampers.

11. A harp-like musical instrument, comprising two substantially vertical wings of resonating material, the said wings being disposed in the manner of a V with the dihedral angle therebe tween ranging from 0 to 90, open metal frames secured to each Wing on the outer face thereof, tunable strings disposed on the said frames according to a chromatic diatonic scale, a V- shaped hollow sounding box disposed snugly in the V of the said wings, with the apex of the V of the sounding box extending towards the apex of the wings, dampers mounted on said frames, and overlying the strings todamp the vibrations thereof, one damper for all the strings of one wing, and two dampers, each damping a portion of the strings of the other wing, and foot pedals for actuating the dampers.

12. A harp-like musical instrument, comprising two substantially vertical Wings of resonating material, the said wings being disposed in the manner of a V with the dihedral angle therebetween ranging from 0 to 90, open metal frames secured to each wing on the outer face thereof, tunable strings disposed on the said frames according to a chromatic diatonic scale, a V-shaped hollow sounding box disposed snugly in the V of the said wings, with the apex of the V of the sounding box extending towards the apex of the wings, dampers mounted on said frames, and overlying the strings to damp the Vibrations thereof, one damper for all the strings of one wing, and two dampers, each damping a portion of the strings of the other wing, one of the said two last-mentioned dampers being adapted, when moved, to actuate the other, while the other damper operates independently of the first of the said two dampers, a foot pedal for each damper, and linkage interconnecting said pedals and said dampers.

his EVANGELOS THEMISTOKLEOUS mark TSAMOURTZI. 

